We wanted to make something different. Something people hadn't seen before.
I couldn't rely on finding an existing setting that would serve our needs and the colors we were envisioning. A seamless paper backdrop wouldn't have the same effect we were going for.

So I had to build a set. With pretty much zero construction knowledge. I improvised. With lots of help from my family, of course.

This project required a huge amount of time, physical labor, and money. Mostly time and physical labor, but materials do cost quite a bit, especially when you mess up and have to buy more. So I'm going to tell you how I did this in hopes that it will save you time, labor, and money!

Disclaimer: I don't claim that this is a 100% stable, fall-proof set-up. On a windy day, I would always have 1-2 people just be in charge of holding the frame and making sure it doesn't fall down.

What you'll need:

I got most of this at Home Depot! (Paint was from Ace Hardware.)

For the frame:

-Two 4-foot by 8-foot pieces of wood, thick enough to mount a hinge (1/2"-3/4" should do). We used particle board ($14/each), but plywood would be sturdier and would allow you to make a double-sided set (see my note at the bottom of this post). It's just more expensive.

-One 4-foot by 4-foot piece of wood at least 1/2" thick. This will act as the floor. Since I had 4 colors, we had the guy at Home Depot cut one 4'x8' particleboard in half so that we had two square floors that could be painted on each side (4 different colored floors total).

-Three hinges and enough bolts/nuts for every hole (we used three piano hinges and 3-5 bolts & nuts per hole). Make sure the bolts fit the hole of your hinge and your drill bit, and obviously that the nuts are the right size for the bolts. Also make sure your bolt is longer than the width of your particleboard - otherwise you won't be able to screw on the nut properly.

-A drill + appropriately sized drill bit

-Wrench

-Screwdriver that matches the head of your bolts

-Ladder

-Ideally a furniture dolly or something with wheels that allows you to move the super heavy frame (we didn't have this!)

For the colorful overlays:

-Two 4-foot by 8-foot pieces of eucaboard ($9/each) - or other lightweight board that won't warp or wrinkle - PER COLOR. If you want 4 colors, you'll need 8 boards. Keep reading to discover why I don't recommend painting both sides of eucaboard.

Take one 4'x8' particleboard and hold the hinge to the edge of the board. Use a pencil to mark the holes on the hinge. Be sure to hold the hinge steadily so it doesn't move while you're drawing the marks. You'll then take your drill and drill into the pencil marks, going all the way through the board.

Step 2: Attach the hinges.

One by one, place each hinge over the holes you just drilled and insert the bolts through holes. Again, make sure your bolts are long enough so that you'll be able to screw on the nut on the back. For example, if your particleboard is 3/4" thick, you'll probably want 1" long bolts. Add a nut to each bolt so that the hinge is firmly attached to the first piece of particleboard. Use a wrench and a screwdriver to tighten them.

Once three hinges are attached to the first board, lay it down and stand the other board up next to it on the long edge (see the left side of the illustration below). You could also measure out the distance between the three hinges before you put them on the first board, and transfer those distances to the second board, but I don't have patience for measuring things, so we opted for this method. It also is more reliable than measurements, because you can see that the boards are together in the right configuration. Once you've drilled the holes in the right places on the second board, stand the boards up (this will require quite a bit of strength - a lot of weight is hovering 8 feet in the air!) – as seen in the right side of the illustration below. Now you'll repeat the bolt insertion process on the second board. Make sure the boards are flush at the center, preferably at a 90º angle depending on the hinge you're using. Again, tighten the nuts & bolts with a screwdriver and wrench. Unless you're 8 feet tall, you'll need a ladder to attach the top hinge.

You should now have a standing frame that supports itself when it's open at a 90º angle. It can be folded for storage. Ideally, you have a moving dolly to transport it because it's HEAVY. (We didn't have a dolly.)

Step 3: Paint your eucaboards and your floor(s).

Now it's time for the fun part – if you like painting. I thought I liked painting, but by the end of this, I was ready to not see a roller for a while! Because eucaboard is pretty dark, I had to do two coats of paint on each board. Use interior flat paint – you want the colors to be matte, not shiny. Don't worry too much about tiny marks or smudges because they likely won't appear on camera; plus, they're easy to clone out. But you want to make sure that there are no glaringly bare spots or shadowy areas. You're aiming for a smooth, monochromatic surface. See my note at under "what not to do" about painting both sides of eucaboard.

Paint your floors, too. You should have one 4'x4' piece of wood for every 2 colors. It should be at least 1/2" thick so it can be stepped on without bending or warping. I painted one color on each side of my 4'x4' particleboards, and I did two coats on all of them. Be sure to let each side dry fully and have a clean sheet to lay the painted side on if you're painting both sides. These WILL get dirty while shooting, so begin to accept that.

Step 4: Put it all together.

Once the paint has dried, it's time to finally make this dreamy colorful corner come together!

Stand your frame up (if you haven't done that already), and assign someone to be on a ladder, and someone to be on the ground. One person will lift the colorful eucaboard over the surface of the frame, while the person on the ladder clamps them to the top. Repeat this process with both panels. Be mindful of keeping the panels flush in the center, so you don't see the hinges or any gapping.

Slide in the floor, and you should have a complete set! (This moment was so exciting for me.)

WHAT NOT TO DO:

Based on my mistakes, don't do these things:

1. Don't try to make your frame double-sided – unless you're construction-savvy. My original plan did not include colorful overlays; rather I was planning to make two double-sided frames and paint each side to have 4 colors total. We used piano hinges for this purpose (they can bend both ways), and because we didn't know what we were doing at first, we screwed the hinges into the thin edge of the particle board, and the instant we tried to make it turn the other way, the hinges ripped out. Moral of the story is: if you're going to do this, find someone who knows what they're doing and stay away from particleboard. Plywood would be a more viable, but more expensive, solution.

2. Be careful if you're tying eucaboard to the top of your car. We tied our eucaboards onto a Land Rover with a roof rack using two ratchet straps, and just driving slowly on a residential road, one of the boards caught wind, bent in half, and blew away. We felt like those idiots you always see on the freeway losing things off the back of their car! So ideally, clamp them together so they act as a more solid, heavier unit, and use LOTS of ropes/straps.

3. Painting on the rough side of eucaboard will use twice the amount of paint. It's cheaper to get 8 panels of eucaboard and only paint the smooth side than it is to try to paint both the smooth and rough side and use twice the amount of paint on the rough side. The texture just soaks it up! Alternatively, find a different type of board with the same texture on both sides and you can do this double sided.

So – there you have it. A low-budget, colorful photo set! I had so much fun with this project and hope to do a whole series out of this set. For now, I can't share more of the images from this set since we're trying to get them published. But check back for more! (Including a fancy BTS video by Ocean Ho :) )

For lighting, you could put this inside and experiment with studio lights, or you could go all natural like I did and use the natural light of your backyard! Try to find a spot that will be in shade for the duration of the shoot, ideally with a bright object, like the wall of a house, bouncing even light onto your subject. At one point, our clamps were reflecting splashes of light onto the boards, so we covered them with a napkin and a rubber band. :D Be mindful of subtle shadows being cast by the walls of the frame.

If you try it yourself, use the hashtag #colorfulcorners on Instagram and send the results to me! I'd love to see how it turns out.

Be sure to check out my other resources for photographers here! And subscribe to my YouTube channel for more behind the scenes content.

Editing styles come and go. Your aesthetic preferences are constantly evolving. But no matter what year it is, or what you’re shooting, you always have the opportunity to make your work stand out.

Here are my thoughts on creating one-of-a-kind images:

1) Pick an unusual topic or theme. This doesn’t mean that you need to specialize in photographing hammers sitting on chairs (though you totally could!). Pick something you’re passionate about that also happens to be uncommon, and keep iterating on it, establishing a theme in your work. I happen to spend tons of time with older people, and I think a lot about aging, so a natural pick for me was to shoot older people. This series means something to me, and I think it evokes some kind of emotion those who view it. Find something that no one else is doing and make it happen!

2) Disrupt normalcy. Ask yourself: what would make me stop in my tracks walking out in public? A herd of Scottish cows walking in a line down the middle of the street? 3 models standing on each other’s shoulders? It doesn’t have to be circus-status, but it does have to be something weird. For example, my most popular series to this day, 5 of a Kind, is a basic form of this idea. You typically don’t see 5 similar-looking girls (or quintuplets) dressed in identical outfits just strolling around robotically. The charm of these photos lies in the rarity of this scenario. Even just posing people in perfect symmetry (think Abbey Road cover) is visually striking and unnatural.

3) Pay attention to your colors. Color is a huge part of visual content. Color (or lack thereof) can set the mood and tone of your portfolio/feed. I encourage people to work within a color palette and choose colors they like the most, since that will personalize and streamline their work. Color can make or break your work!

4) Eliminate clutter. Whether that’s making sure the physical scene is clean to begin with, or cloning out background distractions (i.e., spots on pavement, random signs or debris), it’s important to pay extra attention to those little details. It will help draw the viewer’s eye to the subject and enhance your composition.

5) Work hard. This almost goes without saying, but I want you to internalize what this means. The photographers who are willing to go above and beyond to make their visions come to life are the ones whose work will stand out. Take location, for example. The photographers who are competing for space at the local park are probably not the ones we all follow on Instagram. It’s the ones who are climbing mountains or driving hours to find the perfect wheat field who are going to make their mark. (Note: I don’t mean to say that great work can’t be made at the local park, or that shooting at the same place over and over is a bad thing. But think about how location can influence your work for the better!) This applies to everything, not just location. Putting time into finding new people to work with, feeding your inspiration, and working hard to make sure every detail is taken care of will all yield impressive results.

6) BE CONSISTENT. I think I bring this up almost every time I write something, so this time I’m going to shout it. Shoot well, and often. Consistency attracts people to your work because they don’t have to work hard to figure out what you do. Since being consistent is so hard to do, being consistent will automatically make your work stand out. (Psst, in case you can’t already tell how obsessed I am with consistency, check out my free guide to building a consistent body of work.)

If I could tell you one thing: Create images that depict something you don’t see everyday. Whether that’s a clutterless street, a perfectly colorful outfit, or faux-quintuplets, you’ll draw people to your work by disrupting routine and temporarily drawing them out of the real world.

You may recognize some of what I’m saying from my Instagram tips post. See the correlation? Making your work stand out will contribute to your success on Instagram.

Are you frustrated at your lack of growth on Instagram? I often get asked about how to be successful on Instagram. The truth is, I'm still figuring it out. But I'm happy to share what my experience has been so far.

I've had quite the journey on Instagram. Back in 2012, I reluctantly agreed to start posting on it based on a recommendation from a friend. In late 2014, my feed got more serious as I started to hone in on my style and really focus on growth. In May 2016, Instagram featured one of my photos on their feed, which garnered me a nice boost in followers and engagement (still under 6,000 with the boost at the time).

Later in 2016, Instagram started following me. This seems to be the new version of being a "suggested user." While this has significantly helped my follower growth, unfortunately it has decreased my engagement rate (number of likes & comments per photo).

The problem is, many bots are programmed to follow the users Instagram is following, so it makes my audience less authentic. I'm not trying to sound like I'm whining about having nearly 40K followers, but I'm pointing out the fact that you can't always take numbers at face value. There are people with 6,000 followers getting 1,000-2,000 likes per post, which is AMAZING. I have nearly 40K and I only get 400-500 likes on average. Pretty lame, huh?

However, I am happy with how my engagement has grown over the years. I love when people comment, and I love answering them back. It does take a lot of work to keep up those relationships, but I think maintaining that conversation is important!

In order to build an engaged, authentic following, I recommend using these tips as you grow your account.

1) Be consistent. I'm a huge advocate for consistency - consistency in editing style, the type of content you post, and the choices you make when creating your work (i.e., colors, types of light). In fact, I think some of the most successful photographers are the ones that only post photos based around a single theme - for example, @thebroccolitree only posts photos of the same tree captured at different times. I imagine that taking these photos must get boring after a while, but it's a successful concept: the people who follow @thebroccolitree LOVE seeing pictures of that tree, and they know that what they see is what they get. The intent behind the feed is transparent. (Read more about consistency by downloading my free guide!)

Without taking that concept quite so literally, think about how you can ensure your audience that what they see is what they get. It doesn't mean that you have to have the same subject all the time, but what is an element that can act as a thread of consistency weaving through your work? I use the same yellow hat in a lot of my photos, and I have a color palette that I try not to stray from (learn more about how I work with color here). I try to explore repeated themes throughout my work, such as multiples (5 of a Kind, twins, etc.) and older people (a fairly new series).

2) Plan out your grid. I try to be thoughtful about the order in which I post photos. I use the app UNUM to preview my layout; it's really helpful for seeing the "big picture" when you're trying to figure out how to share a bunch of work. I usually try to alternate composition styles - one close-up, one wide shot, one medium shot, for example. I also try to be conscious of the color palette of the photos that surround each other and not inundate my feed with just one color. Often I'll post 3 photos from a new shoot, and then continue to sprinkle them throughout other photos so that I don't spam my audience with all the photos from one shoot. I like to spread out my work, which is why I use UNUM to see what will look good next to each other.

3) Don't post irrelevant content. There's always been a big debate about whether or not to post personal photos to your Instagram. Personally I believe that you should never post personal photos if they don't fit well with your feed. Don't throw in a grainy picture of your cat in between beautiful editorial images - that will instantly make me not want to follow you. If you recently took fancy self-portraits that do fit in well with your feed, sure, go right ahead! But keep your content in line with what your audience is expecting. You can be personal with people and let them into your lives through your blog, your captions, and other social media venues (i.e., Snapchat, Instagram Stories, Facebook), but try to avoid polluting your Instagram feed with irrelevant photos. You want to treat your Instagram feed like your portfolio - would you put up a picture of your new shower curtain on your front page slider on your website?

4) Focus on creating amazing content. This one's pretty obvious, but I'm not sure how many people really internalize it. Stop worrying about how to grow your Instagram, and start worrying about how to make your work amazing. It doesn't matter if you're posting 5 images a day if all of them are the regurgitated leftovers of old shoots you don't really care about. Focus on quality over quantity. How can you make every shoot AMAZING? What are the wildest ideas in your head that are waiting to come to life? Master whatever it is you love shooting, and push your limits when it comes to imagining what you can create. Don't be afraid to bring your ideas to life. Then share them with the world!

TL;DR
Above all, consistently creating great content is your golden ticket to success. Even if Instagram disappears within 10 years, this will always be true. No matter where you're sharing your content, it has to be good, and it has to be consistent for people to pay attention.

I'd like to close by saying that no social media platform is worth obsessing over. A lot of it is a constructed reality that takes us away from things that really matter (i.e., spending time with people, self-development, etc.). However, for many of us, social media is the core of our business: it brings us bookings, acts as a portfolio, and spreads awareness about our work. Just like a normal office job, though, it's necessary to set boundaries that allow us to leave likes and followers behind for a while.

I'm guilty of fretting over my engagement rate, feeling discouraged when a post gets below-average likes, and spending too much time hovering over my phone waiting for notifications. I'm still working on making myself step away from social media more often.

What are your thoughts on social media? Is there anything else you wish you knew about Instagram?

I used to be really afraid of shooting in harsh light. I was always hoping for fog when I had mid-day shoots in San Francisco, and I tried to schedule most of my shoots for golden hour.
Golden hour is magical - there's no doubt about that. But I think shooting in harsh light (direct sunlight) is magical in its own way. So much so, in fact, that I have started to intentionally schedule some shoots around 11am or 2pm.

1. Keep your subject's face in the shade. Face your subject away from the sun to keep their face tone even. This, of course, is a rule that is also super fun to break when you get comfortable with this process. Try having a shadow created by a building or some sort of structure bisect their face; this can have a really interesting effect!

2. Expose for the highlights. The look I love involves exposing for the highlights (e.g., the brightest thing in your frame isn't blown out & all the details are preserved) and raising the shadows in post. In most cases, your subject will be the shadow, so they'll look dark in camera, but you'll lift the shadows in post.

3. Find a location that has shade and sun, if possible. It's always nice to have a shady place to resort to in case the harsh light isn't working out so well. Plus, if it is super bright out, there's a good chance that you'll get some nice bounced light on their face from the bright ground in front of them. Urban settings are often better for harsh light (rather than an open field where there's no escape) because there are tons of nice lines and angles to play with, and there tends to be shade somewhere (i.e., one side of a building) at any time of day.

4. Hats and sunglasses are your friends. Hats naturally frame the face and tend to ensure that the subject is nicely shaded (as stated in tip #1). I always tell people to bring hats and sunglasses when we're going to be shooting in harsh light so that we have always some portable shade, per se. Sunglasses will help with squintiness. Or, just have your subject tilt their head and close their eyes (I call this the "daydreaming" pose).

5. Spotty clouds are the best. They add interest if you're shooting the sky and make the image less overwhelmingly full of blue. Even though they usually aren't diffusing the light unless they're directly in front of the sun (in which case, you're standing in shadow), they somehow seem to make the harsh light just a bit softer. Whenever there's a day with big, puffy white clouds, I head out with my camera to take advantage of the dimensional scenery.

6. Know when to use it. If you're being paid to make someone look their best, shooting them in harsh light is probably not the way to go. I use harsh light for more fashion-based work, but I try my best to avoid it for portrait clients. When you're trying to showcase someone's beauty, the best thing to do is find some diffused or bounced light, or stick with golden hour.

What time of day do you prefer to take photos?

If you struggle with editing in harsh light, check out Pop! Harsh Light Pack for Lightroom presets designed to flourish in mid-day sun.

While I love this shot, "technically" it's not perfect. It was taken on my Mavic Air drone, whose images do not handle lifting shadows very well. You can see lots of grain. But just because something isn't technically perfect doesn't mean it's not a cool shot!

If I had a nickel for every time I've heard the line, "Your camera takes amazing shots!" I could probably afford a Canon 5D Mark IV.

But I'd probably spend that money on a few photography classes, or a vacation. Here's why:

You can be an amazing photographer with just an iPhone. Or an Android, or a pinhole camera you make out of a cardboard box. The camera does not take amazing pictures - YOU do.

It's true that you may be limited by certain technical capabilities (low light sensitivity, depth of field, print resolution, etc.), but you should never feel discouraged by your gear (or lack thereof). While you're working up to your next purchase, think about what other skills you could be developing. Master manual mode and make ISO, aperture, and shutter speed second nature. Experiment with composition. Shoot a lot with whatever you have, and figure out what works.

Good gear doesn't equal a good photographer, and vise versa. I've met photographers with top-of-the-line, excessive gear whose work is, frankly, boring. It may be technically top-notch, but it lacks interest and creativity. You aren't going to stand out with your gear; you'll stand out by producing photos that are unique to you.

Of course, good gear can elevate your work, or allow you to capture more diverse scenarios (i.e., low light) more accurately. But think about how you can keep your gear as simple as possible. I thrive on being inconspicuous. It draws less attention, makes people feel comfortable in front of the camera, and gives you less to worry about on a shoot (less to carry, less to go wrong, etc.).

I'm really happy with my current gear set-up. So I figured I'd share a bit about my gear "journey":

When I first started photography, I had a Canon Rebel (from early 2000s) and the kit lens (18-55mm) it came with. Soon after, I got a 50mm 1.8 lens for just over $100, which I wanted for its shallower depth of field capabilities. It's a great starting lens for portraits!

Even though my work has changed stylistically, I still LOVE this shot, taken with a kit lens and a Canon Rebel in 2010.

Canon 6D: Purchased during Black Friday deal on Amazon I love this camera body. The main reason I needed to upgrade was the full-frame camera body. The Canon Rebel has a cropped sensor which is not as beneficial for low-light situations, and I wanted the wide look of a full-frame sensor with a 35mm lens, where you're able to get up close and still have lots of room around the subject. I don't really use its wifi capabilities (they are kind of clunky), but it's nice that they're there. It also doesn't have a dual card slot (only takes 1 SD card at a time), which is not great for weddings or other events where backup cards are extremely important, but I don't shoot those often. I also love its focus point system! Would highly recommend the 6D over the 5D series if you don't need a dual card slot or the more sophisticated focus points.

photoofginkgotree7

The Sigma 35mm lens combined with a full-frame camera allows you to blur out foreground items and achieve crisp focus on your subject while staying close to them. If you prefer a less intimate way of shooting, there are advantages to having a crop sensor, or a longer focal length on your lens.

Sigma 35mm 1.4: Purchased off of Craigslist at a lower rate This lens. I can't recommend it enough. I've heard that people have issues with the lens calibration and focus, but I have been using it for 3 years now without any issues. I rarely take it off. I occasionally use an 85mm 1.8 lens, but that is only once a year or so when I need a longer focal length or want the compression for certain headshots. If you can only get one lens, get the Sigma 35. I've also heard it's better than the Canon 35mm 1.4

TL;DR: 99% of my photos are taken with a Canon 6D and Sigma 35mm 1.4. It's a great set-up for under $3000.

I use Lightroom to develop my RAW photos, and occasionally Photoshop for more intensive retouching. For my signature editing style, I use my own candy-coated presets, which are available for sale here!

At this time last year, most of my shoots were spur-of-the-moment collaborations that I didn't have clear intentions for. They were fun and contributed to my portfolio, yes, but they weren't really driving my work forward. That's why I decided to start doing more editorial-style work for magazines; it increases my exposure and is necessary for any aspiring fashion/lifestyle photographer. Full disclosure: I've only had about 5 shoots published in some form thus far, with 3 more on the way. I'm not a total expert, and I'm sure I'll be updating this post the most I learn about the process! Here's what I've learned so far:

Academia-SolsticeMagazine-Publication-2

*Note: I'll be using the word magazine for all types of publications, whether they're print, online, or blogs.

1) Plan ahead. Many magazines have monthly or seasonal themes that you will need to fit into to have your work published. For example, if a fall issue comes out in October, the deadline is probably in September. You may still be in "summer mode," but you'll need to have your shoot finished and ready to go before the deadline. This requires thinking far ahead for what work will be compatible with an issue. Most magazines also require submissions to be unseen, meaning that no one from your team has posted to social media or anywhere public. Be very clear with your team members that posting publicly will compromise the ability to get published! I've also posted things to social media before I realized they would be good for a magazine, which is why it's important to plan ahead and have clear intentions for your shoot.

2) Find a good team. High-quality team members = high-quality work. I have a set of people I like working with, who I know will deliver the same results each time, and we tend to call upon each other to collaborate for editorials. Most magazines require a hair & makeup artist, an agency-signed model, and a stylist. (I've had a hair & makeup artist do both styling and beauty.)

Sidenote about styling: It's important to find a good stylist who understands the requirements of submitting work for publication. Many magazines ask for 4-6 looks, and that each designer only be used once. "Vintage" or "stylist's own" as wardrobe credits are not acceptable when used more than once or twice for most publications, so it's important that your stylist pulls multiple brands, no matter how well-known. They must have a label.

3) Prepare to wait...but not too long. Most magazines/blogs are very communicative and up front about publication dates, but I have encountered one magazine (won't name names) that accepted two of my shoots and never published them. Over a year went by with multiple attempts to contact them, so finally we gave up and submitted to other magazines, which published them within weeks. Waiting that long without a clear explanation is NOT normal or professional, so if you aren't getting an answer, move on. It's typical to have to wait 2-3 months from shoot date to publication, depending on deadlines and the frequency of magazine issues. I wait 10-15 business days to hear back from a magazine, and then submit elsewhere if I don't hear anything.

4) Not all magazines are created equal. This applies to both reach and requirements. Some magazines are stricter than others and have many more specific requirements of the editorials they accept. Each magazine's website tends to have a "submissions" section that details what they're looking for. However, I have occasionally missed some of the requirements and still been accepted, so go for it anyway, as long as you are in the ballpark. You also want to think carefully about how many followers the magazine has on social media, as well as their readership. You're trying to maximize your exposure when you get published, so aim for the stars first, and when you don't hear back, keep climbing down the ladder.

5) Consider composition. Most print magazines only want vertical images, or horizontal images that can be cropped to fit on one page. I think this requirement has influenced my composition, and I notice that I shoot vertically much more than I used to. That doesn't mean don't shoot horizontally, but include mostly vertical shots in your submission.

6) Be sure to get behind-the-scenes content. While you're waiting for your editorials to be published, posting behind-the-scenes content is a great way to generate engagement on social media. Politely ask a team member if they wouldn't mind filming a few clips or getting a few shots with their phone. Some magazines request behind-the-scenes content!

7) Which medium? Print and online both have their value. Print could have higher readership (subscribers), plus it's just cool to see your work on paper and keep it on your coffee table. However, online could have just as high readership, PLUS you have the added benefit of an SEO boost if they link to your website. A link to your page from a credible website tells Google that you're legit and increases your ranking. Online editorials may also be published sooner than print.

8) Be persistent. Don't give up on publication until you've exhausted your list of potential magazines. And even if no one accepts you, it doesn't mean it wasn't a good shoot. I'm not just saying this to be nice; it really might just be the wrong theme for the issue, or it's not really editorial style. I used to submit things that really didn't belong in magazines (and they never made it there!), but I still loved the shots. Examples include shoots that only include one look, feature a non-agency model, or are mostly horizontal, wide shots featuring landscapes more than the model/wardrobe.

9) Don't bother with Vogue. Sorry, I hate to break it to you, but Vogue doesn't take submissions. Your best chance is stalking the editor-in-chief and begging her to even take a look at your work. Other than that, join the rest of us in non-Vogue-land.

10) Don't sacrifice your style to be accepted in a magazine. One issue I have with some magazines is that I find a lot of their content to be similar and overdone. Don't try to fit into a magazine by copying the overall style of the work they feature. Rather, do some research and figure out what magazine fits best with your style. At the same time, editorials are a safe space to take risks. If you've been wanting to try out something super creative or unusual, go for it! That's what editorials are about. You're not pleasing a portrait client or getting paid by a brand. This is your chance to experiment, and it's not just okay; it's encouraged.

Do you ever have waves of intense inspiration in which you want to make your vision come to life as soon as possible?
What if you can? Not to sound like a cheesy inspirational speaker, but what's stopping you?

Not every shoot or concept can come to life overnight. My 5 of a Kind shoot, for example, took 7 months to come together successfully. However, occasionally I'm struck with smaller-scale inspiration that I choose to run with.

Some of my favorite shoots have come together in a matter of hours.

1) Ksenia. In January 2016, I found Ksenia on Model Mayhem on a Thursday night, wondering if she'd be able to shoot a 1960s/1970s theme at my apartment on Saturday. I already had the clothes that I wanted to use, so I had the basic direction in place. I sent her a message on Thursday, didn't hear anything until Friday night (while I was sleeping!), as I woke up to a text from her that morning saying that she could be there as early as 10am. I wrote back immediately, saying, "YES! Let's do it." And we did. I quickly headed to the fabric store and pulled a few backdrop options. I shoved all my furniture to one side of the room and hung up the fabric with pushpins. I had the clothes laid out on my bed. And we worked with my apartment and the surrounding area to put together a fun set of images.

2) Anthropologie. In June 2016, I was heading to Washington, D.C. for my best friend's wedding. I don't know why I didn't think of this sooner, but it hit me 4 days before I was supposed to leave that I might as well do a shoot while I'm visiting the other side of the country. I went on Instagram and searched hashtags voraciously: #dcstylist, #dcmodel, #dcfashion – desperately looking for some team members! I stumbled across a local Anthropologie account (@anthro_chevychase) and sent them a message, wondering if I could source clothes from them. They replied saying that they could bring a bunch of clothes AND models! A done deal. Not to mention, last minute work for a major brand! We met up 4 days later and had a successful shoot.

3) Laney. I guess a big chunk of my inspiration comes from wanting to make use of the beautiful locations I visit. Every summer, my family and I spend most weekends up in gold country near Angels Camp, California for houseboating and waterskiing. For a long time, I'd been meaning to make use of the beautiful scenery. The Thursday before we were heading up to the lake, I got a rush of inspiration and decided I wanted to do a shoot that weekend. I went on Instagram and searched #angelscamp, plus hashtags for surrounding towns, looking for locations and anything I could find in the area. I came across Natural Bridges, a beautiful cave system just 20 minutes from the lake. Boom. That's my location. Now I need a model...After coming up dry on Instagram, I resorted to Model Mayhem. There weren't many options in this area, but I found Laney, and miraculously she was available to shoot! I took a gold slip I'd used for a shoot in the past and went to Target for a few gold accessories, making the theme "Gold Country."

4) Lydia. This time my source of inspiration came from the model. I connected with Lydia on Instagram a few months back and had been wanting to shoot her. She has a really cool look and I thought she'd do well with a classic, timeless theme. The timeline for this shoot was:

Tuesday night: ask Lydia if she's free (she is!); ask Amy if she can style (answer's yes!)
Wednesday morning: hear a few "nos" from make-up artists and continue to reach out to others; virtually scout locations for rolling green hills and oak trees
Thursday: Amy pulls clothes; Inna (make-up artist) is on board!
Friday morning: I scout locations in the Dublin/Pleasanton/Livermore area. Find one I like (Del Valle Reservoir) and pass on all the meeting details to the team.
Saturday afternoon: We meet at my apartment to prep and then head out to shoot!

Don't underestimate the power of taking an idea and running with it. You'll notice that in a lot of these situations, the team is small (often just me and the model(s)), which helps in terms of travel and availability. It also helps to have a large network of team members so that you can find someone who's available more easily. I ask for referrals from people I trust to expand my network.

I think great work can come out of last minute planning - sometimes the less details and time to think, the better! What's your experience with last-minute shoots? Have they been successful for you? Or are you more of a long-term planner?

For the past few months, I was really struggling with the time it was taking me to edit my photos. On average, I shoot 1500 photos per 2-3 hour session, and I was starting to feel overwhelmed when I imported such a huge set into Lightroom. I could try to shoot fewer photos and be more intentional about the shots I do capture, but I feel as though I've already cut back on that and what I'm doing works for me.
What I'm about to share may not be news to you. I'm sure many of you already do this! I just caught on late. ;) I actually had another photographer tell me to do this years ago, but I was too stubborn and didn't listen. For those of you who are still plugging away through an endless gallery, I think this trick will help you.

All I did was switch from rejecting to selecting. Is your mind blown yet?

The keyboard shortcut for rejecting an image is X, while the one for selecting (picking) a photo is P. Somehow it is psychologically easier to pick the photos that I definitely want to keep rather than dispose of the ones I don't want. So, I just cycle through my gallery and pick my favorite shots, and then I enter a filtered view where I only see the shots I've picked. You can do this by clicking on the little flag in the bottom right-hand corner of Lightroom.

That number drops to 160 photos, which is a much more manageable number to visualize when you're sitting down to edit. Picking the photos I want usually takes an hour or less. Then I'm left with 100-175 photos, depending on the shoot. That number usually drops a bit more as I edit them, too. It seems WAY easier to edit only 100+ photos vs. 1700+ (even though I would be rejecting many of them along the way). It also helps me be more selective, which is something I'm really working on since I tend to keep way too many shots. I went from spending 4-5 hours on a set to only 2-3. It feels so empowering to suddenly have much more time on your hands because you discovered a simple trick to reduce time spent at the computer.

Recently I went to a small-scale portfolio review hosted by Professional Photographers of the Greater Bay Area. I was able to speak with 4 different reviewers: an art buyer from SFMOMA, editors at Wired Magazine & Via Magazine, and an art director for Banana Republic. This was my first time attending an event like this, and I wanted to share a bit about what I learned from the experience.

Too many samples of your work is better than too few. Being the rule-abiding person I am, I obeyed the instructions to bring between 10 & 20 images for review. I think I had 18 in my portfolio book that I ordered from Blurb, specifically for this occasion. I wasn't sure what the scale of the event was going to be - I was expecting a hundred people. In reality, only 5-8 other registrants showed up! This meant that there was more time than expected to spend with each reviewer. So they flipped through my meager samples of my work in a few short minutes. I know for the future that having a large portfolio book is better - they can cut me off if need be.

Include a wide range of content and genres. I don't have any studio work in my portfolio. Mainly because I don't really do studio work, but I do have some high-quality samples I could show. The editor at Via Magazine said that even if she's sending people to cover a story with natural light (i.e., food photography at a restaurant), she still needs to see that they know how to work with artificial light. I also included two shoots that I thought would demonstrate that my work was thematic (5 of a Kind & False Twins), as well as other similar fashion & portrait work, but I think in reality they didn't want to see so many of these and would have preferred a wider range of work. This was a bit of a wakeup call for me. I am all about consistency and producing a cohesive body of work, but I think when it comes to events like this - where you're trying to impress different industries - you need to have multiple sections that show your talent in different areas (food photography, fashion, studio work, etc.).

Digital vs. print. I brought a print portfolio book (printed on book pages, not individual prints in a folder), and looking back I wish I would have brought digital. Instead of spending the money on high quality prints that you have to update all the time with new work, I'd say you'd be better off getting an iPad or other digital tablet to showcase your photos. We are so used to seeing things digitally these days that I think it's become standard within the industry to view digital portfolios. Of course, this is individual preference, but I think from now on I'll be going with digital. That way I can swap out last minute selects and easily skip over irrelevant work.

Be prepared to be critiqued. None of the reviewers shot my work down, but none of them really oo'd and ahh'd at it either. I don't know if that's just the nature of these events, but here I was, sharing what I thought was my best work of the year, and they seemed thoroughly underwhelmed. Part of this, I'm sure, was that my work is kind of between genres right now - a combination of fashion and fine art. It's not high fashion, it's not travel photography, it's not well-defined. These people aren't there to pat you on the shoulder and say, "good job." They're there to tell you what works for them and what doesn't. Some people identified my least favorite photos in the book as their favorites. One person said the lighting looked flat in one shoot. Let's just say I didn't emerge from this event with an inflated ego!

Come with questions. This almost goes without saying and is true of any networking event, but preparing yourself by knowing the background of everyone you'll be talking to and having specific questions for them will help you avoid awkward moments of silence and walk away with more valuable information. For example, I didn't look up one of my reviewers, and it turned out she had also gone to UC Santa Barbara, which would have been some great common ground to start on. I often felt like I didn't know where to drive the conversation because I was running out of questions. Don't expect the reviewers to hold the conversation - you're there to pick their brains.

Get your reviewer's direct email address. I walked away with the direct email address of everyone I talked to and followed up with a thank you and some questions, to help them remember me for future networking purposes. This is key!

You might walk away confused. I expected to leave the review with a clearer direction of where to go with my work, but in fact, that sense of direction was just more muddled. After talking to an art buyer, a travel magazine, and an art director, all with different perspectives, I was a bit overwhelmed with all the paths there are to take. Should I start doing more studio work even if I don't enjoy it? Should I try to sell my prints to galleries? Should I accept travel work even if that wasn't what I envisioned myself doing before I got here? I'm not sure. While this variety of choices is a bit overwhelming, it's also reassuring. I'm inspired to become more of a jack-of-all-trades - at least for portfolio purposes - but I think I'll still stick to the niche that inspires me most: fashion/people/lifestyle (and wherever my work fits in within that realm).

Exciting news...I've received a lot of interest in photo prints, so I decided to open up a print shop!
Check it out...there's a bunch of shots from my "5 of a Kind" and "False Twins" series! And if there's one you desperately want on your walls, just shoot me a message. :)

Have you ever been on a shoot when a property owner or ranger approaches you and asks what the shoot is for? Or straight up says you can't be shooting there?
This happened to me a few weekends ago. I had a big shoot with a local designer for her fall lookbook, and when we decided on a state park as a location, it didn't even cross my mind to try to get a permit (an error on my part). We had 5 models all in nice dresses - not to mention we're driving up in an RV full of clothes that's branded with the store name - so it's not exactly easy to be inconspicuous.

Right before we were going to start shooting, a ranger pulled up to us and got out of his car.

"Are you going to be camping tonight?" he said, motioning to the RV. I breathed a sigh of relief, thinking that's all he was curious about.

The designer clarified that we were just out for a cruise on the mountain. I kept my camera in my bag. His eyes moved to the 5 models, all standing there in casual dresses.

"Is this a photoshoot? What's it for?"

In a situation like this, there's really only so much you can do. In this case, we tried to minimize what we were doing by portraying the shoot as casually as possible. He basically said that he could technically fine us if we were to proceed with taking photos, but that he was just going to drive off and we could consider it a warning. So he never openly condoned it, but rather turned a blind eye, just because he happened to be nice.

The best thing to do would be to learn from my mistake and just get a permit to begin with, but often these are quite expensive. For family/individual portrait photography, they're only about $100 a year for state parks in California, which, I'd say, is definitely worth getting if you're working with families/individuals often. But as soon as you mention the word "commercial," that number skyrockets up to $750/half day or $165/hour in certain parks!

Unfortunately, the reason that state parks and rangers are starting to crack down on this is probably due to the actions of a few select individuals. Many of us do treat state parks with respect, as they should be treated, but some people feel entitled to take over the space in a destructive manner for the sake of their photoshoot.

The line between commercial and portrait work can be tough to differentiate, but the general rule of thumb is that if you have a model who is showcasing a product - whether that's clothes, accessories, cars, or toothbrushes - or just the product itself being posed on a stump or a road, it's considered to be commercial.

Many people believe that because we pay taxes to support the upkeep of our parks, we should be able to use them as we see fit. The state parks believe that if you have any chance of profiting off of them - whether that's now or eventually - without them getting a cut, you're taking advantage of them.

I'm not here to provide legal counsel on this matter, or to give my opinion on how things should be. I do want to share what I've learned from my experience encountering rangers while out on a shoot without a permit.

For the times when you simply don't have the budget for a permit, or you realize too late that we need one, there are a few steps you can take to minimize the impact of your encounters with the parks:

1) Slim down your gear. I am thankful that I rely on minimal gear in situations like this: I use one camera body and one main lens and store them in a forest green camera bag that looks like it could just be an everyday bag. I do have a reflector, a changing booth, a few other lenses that I'll pull out occasionally, but I can make do without them 99% of the time. Carrying around huge lenses with battery packs on your camera and setting up lights and reflectors is a definite red flag and is sure to raise questions.

2) Prep your team. Working with a big team can create a lot of commotion. Before we arrive at the location, I prep my team, telling them that we don't want to cause a scene by being too loud or disruptive. Pulling out a big clothing rack, or having heaps of makeup bags on the ground is NOT what a ranger wants to see. That screams commercial. I encourage my team members to work with one look at a time and carry minimal kits for touch-ups. I also ask them to wander around while we shoot, so it's not like we're all obviously staring at a model for 10 minutes. This makes us more discreet. The more you can look like you're just on a hike or a picnic, the less likely you are to stick out.

3) Student project? I'm lucky that my 23-year-old self can still believably pass as a college student. If a ranger asks what the shoot is for (especially if it looks commercial), saying it's a student project is probably the response you'll have the most success with - no matter how old you are. (Many people enroll in art/photography classes when they're older!) I've used this line several times and have never been questioned further. It helps to prep your team on this story as well so that you're all on the same page.

4) Be respectful. Above all, be respectful. This applies to two situations: respecting the environment and respecting authority. This should go without saying, but don't leave trash everywhere or trample a bunch of flowers - be kind to the environment you're working in! And if a ranger does approach you, it's not the time to be self-righteous and argue with them. The more you show that you're willing to work with them, the higher the chance they might be willing to work with you. If they ask you to leave, respect their choice and move on. Choosing to ignore them may result in getting fined or threatened with "police action." It's good to have back-up locations in case this happens.

I'll conclude this by saying that if you get a permit, you can go crazy - in a non-destructive manner, of course. As soon as you have written permission, you can bring as much gear as you want, and you'll sleep a little better the night before the shoot while your brain can dream of golden light and composition rather than excuses to tell the ranger. So, when possible, just bite the bullet and get a permit.

Happy shooting!

Have you experienced something similar while shooting in a state park? Share it in the comments below!

When you want to edit on the go, it can be frustrating to find an app that lets you perform fine adjustments on your photos, apply unique filters, and organize your shots in a personalized grid. InstaSize does it all! Download the app for iPhone or Android.
And then see how I edit my photos using the app in this video tutorial:

One of the most frustrating parts about coordinating photoshoots is finding a good model who matches your vision for the shoot. Especially when you're looking for new faces to add to your portfolio and have to look outside your usual, the task can seem daunting. But I have a few solutions:

Instagram: Sometimes when I have a free moment - on the BART platform, waiting for my oatmeal to cook, avoiding important to-do lists, etc. - I'll just take a few minutes to try to find new models on Instagram. Even though it's not that easy to search within multiple parameters (i.e., location & tag), Instagram is still one of my favorite resources for finding new faces to work with. Here are a few tips on how to get started:

Identify local feature accounts. In the Bay Area, there are several accounts devoted to featuring local photographers and/or models. I have a list of these that I try to check on a regular basis: @bayareamodelfeature, @igerssf, @makesfportraits, etc.

Follow local modeling agencies. First of all, agency-signed models tend to be great! They are often experienced and know how to handle themselves in front of a camera. But even if you're not looking to work with agency models, I recommend checking out "photos of" the agency. Many aspiring models will tag the agency in their photos hoping to be noticed and potentially signed. This is a clever way to find some local people who clearly want to be in front of the camera, and maybe they have just the look your searching for.

See who's modeling for other photographers. This suggestion overlaps with the two above, because you're bound to be checking out photographers' accounts anyway, but I've found many models just by stalking admiring other photographers. Lead yourself down a trail of clicking on photos that are aesthetically pleasing to you and checking out that photographer, and then check out one of the local photographers who has commented on that post, wondering where the location is. You never know where you'll end up!

"Tag a friend who should model." I experimented with putting this as a caption on one of my Instagram shots, and it was really successful. First of all, people are more likely to comment a friend's name than their own (e.g., if you were to say, "I'm looking for models! Comment if you're interested"), and second of all, they might suggest people who would never consider themselves models but are stunning and would do well in front of the camera. This also promotes engagement and will possibly earn you some new followers!

These tips also work when you're traveling! Just by searching a few tags like #xlocationphotographer, #xlocationmodel, or #xlocationstyle, you'll be able to discover what the local photography scene is like.

Craigslist: I run an ad pretty much constantly for models & stylists - the two categories of team members I always have trouble finding - in the "talent" or "creative gigs" sections of Craigslist. This ad generates a steady stream of new faces coming into my inbox daily. It is true that many of them aren't exactly what I'm looking for, but I'd say I get 1-2 models a week I'd love to work with. I specify the kinds of projects I'm interested in and link to my portfolio so they can see if our styles are compatible. I also ask them to send me photos of themselves and/or a portfolio.

Model Mayhem: As I've said in the past, I have mixed feelings about this site. Because anyone can make a profile, there's a huge volume of people to sort through. But I've found that specifying the parameters that matter to you (height, for instance) helps your search be more successful. I also recommend checking it once a month or so and sorting by "newest first" to see who has joined. This is an especially useful tool when you're shooting out of town and have no idea where to start.

Local Facebook groups: Honestly, I haven't had much luck with these in my area, but it's worth a shot to see what kinds of groups are available near you - try searching "[x location] Models" in "Groups" to see what comes up. This groupbased in the San Francisco area is one of the largest I've found, but I think I've only used one model from the group since I've been in it. I find that the same people always respond, and they're rarely what I'm looking for.

Being brave: If you're feeling bold, approach people in social settings, or on the street - within reasonable situations, of course. This has the potential to come off as being creepy, especially between two genders, but I think you can pull it off in a nice way.

My personal experience with this: When I was at school in Santa Barbara, I kept seeing this strawberry blonde girl with AWESOME style all around campus. She was always wearing cool vintage outfits and bold looks, and I happened to meet someone who was friends with her on Facebook. Using the mutual connection as a starting point, I creepily messaged her and explained how I thought she had amazing style and would love to shoot her sometime. She was not as creeped out as I expected and we shot together a few days later!

I've also approached someone on the UC Berkeley campus where I work, complimented her outfit (asked her where she got her dress), and said I was a photographer and I'd love to shoot with her sometime. I happened to have a business card, which I handed her, and she ended up emailing me! We have yet to shoot, but still. Go for it!

I hope that's enough to get you started. Do you have any additional resources for finding models? Leave a comment below!

It's time for a giveaway! I recently started offering mentoring sessions to my fellow photographers. In these, you are free to discuss whatever is most valuable to you: walking through Lightroom edits, discussing portfolio-building, talking about how to get your business off the ground - whatever! It's all up to you.
In honor of this new offering, I'm doing a giveaway of a 30-minute Skype mentoring session! All you have to do to enter is:

VSCO Film Editing Tutorial | VSCO Film Pack 6 + Lightroom
Take a look at some edits using VSCO Film Pack 6 (Preset 400H+1) on photos of the beautiful California Coast. All of these photos were shot on my Canon 6D with a Sigma 35mm 1.4 Art lens.

For free tips and other photography resources, subscribe to my email list! To give you an idea of the type of content you'll receive, my most recent email featured a tip on how to achieve a natural expression from your models.

I'm starting an email newsletter! If you'd like to be emailed when I'm requesting photos for another community edit, or when I'm announcing new online learning materials, go ahead and fill this out with your email address! As I say in the video, I'd like to make this newsletter as useful for you as possible, so I hope that each email will be packed full with resources and interesting content.

VSCO Film + Lightroom Tutorial for Photographers - Editing in harsh light
I can't believe the photo in this video thumbnail was featured on Instagram a few weeks ago! It was crazy to see the shot get 630k+ likes, and to have the notifications pouring in for a few days. Thank you all for the kind feedback on this shoot, and thank you, Instagram, for choosing to feature this photo! I decided to make an editing tutorial with a few photos from this shoot to show you how the same preset, 400H+1 from Pack 6, can be used in a variety of settings. It's a bit of a struggle to edit in harsh light, but it can be an aesthetic that you choose deliberately to express a certain mood, so it's nice to know how to work with it!

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VSCO Film Pack 6 + Lightroom Editing Tutorial
Thank you to those of you who sent me your photos to be edited! It was really interesting seeing the results of the same preset and style being applied to a variety of photos. I will definitely be doing this again in the future, so stay tuned for the next community edit.

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